GME News
This past month saw the work of several filmmakers distributed by GME programmed in venues in the U.S. and abroad. It is a reminder of both the durability of these artists and their works and the ongoing interest in the kinds of notable independent and experimental moving image work that GME strives to provide to our buyers.
Read MoreWith her boundary-pushing, de-glamorized, stripped-down approach to modern dance, Rainer was already established as one of the most innovative forces in choreography before she’d started to make her first standalone films in 1972, bringing the same spirit of invention to this new medium.
Read MoreLuke Fowler’s BEING IN A PLACE: A PORTRAIT OF MARGARET TAIT (2022) will screen with Tait’s 1998 GARDEN PIECES in MoMA’s Doc Fortnight 2023 Festival of International Nonfiction Film and Media on 2/24. At Light Industry on 2/25, Fowler will introduce Henri Plaat’s FASHION FROM NEW YORK (1980) and John McGreevy’s R.D. LAING’S GLASGOW (1979).
Read MoreFearlessly innovative and playfully prophetic, Nam June Paik comes to life in Amanda Kim’s feature debut through a skillful assembly of interviews and archival footage that portrays the father of video art both in his time and through his far-reaching legacy.
Read MoreSince 1968 Dominic Angerame has produced more than 30 films on 16mm and several newer works in digital format. Some of these films have never had a public screening. Many of Angerame’s films show San Francisco, the city he has lived and worked in since 1979, and its varying cityscape as it looks and changes over time.
Read MoreWarren Sonbert’s film about art vs. industry and their various crossovers will conclude Scratch: PORTRAITS FILMED BY LUKE FOWLER, presented by Light Cone at Le Luminor Hôtel de ville, on February 14th. DIVIDED LOYALTIES will be accompanied by a sound composition Fowler created in collaboration with Richard McMaster.
Read MoreRunning from January 12 to February 2, 2023, this year’s program will open and close with the restoration premieres of two major silent films from MoMA’s archive: Paul Leni’s horror comedy THE CAT AND THE CANARY (1927) and Ernst Lubitsch’s comedy THE MARRIAGE CIRCLE (1924), respectively.
Read MoreIn the spirit of the year-end lists of recent and retrospective, enduring film triumphs, GME is happy to share in some of the list-making and cinematic memories. Excitement and conversations (and arguments) stirred up by 2022’s prominent list highlights from BFI's Sight Sound has prompted us to round up a somewhat broader, consensus driven collection of films from across a diverse categorization of filmic art, the zone in which GME lives.
Read MoreGME provided clips from Jonas Mekas’ ZEFIRO TORNA (1992), LOST LOST LOST (1976), SCENES FROM THE LIFE OF ANDY WARHOL (1992), and RE: MACIUNAS AND FLUXUS (2011), as well as from Gideon Bachmann’s UNDERGROUND NEW YORK (1968), for this documentary feature by Amanda Kim on the father of video art, that is having its World Premiere January 22nd at the Sundance Film Festival.
Read MoreErnst Lubitsch was invited to Hollywood by Mary Pickford to direct her in what would become her first adult role. The result is this thoroughly enchanting blend of the “cast of thousands” period films that Lubitsch had been making in Germany and his emerging interest in bittersweet romantic comedy.
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